SENSORY ARCHITECTURE -

MESSAGE / COMMUNICATION / PERCEPTION

Silvia Costescu, PhD

"Ion Mincu" University of Architecture and Urbanism (ROMANIA)
costescu.silvia@gmail.com


Abstract
ARCHITECTURE is perhaps the most necessary field from the physical and sensitive point of view,
having a strong psychological impact, by which any person benefits from the feeling of integration in
the built-up space, in any architecture software. The human being receives the message of the
architectural object in its most complete, profound and refined form, by means of the sensibility
induced by the sensory involvement.
The sensory knowledge of the built-up and natural environment allows an approach of the architecture
software both as the process of the creation / design and as result sensorially sent to the individual by
means of its own perception.
The architect, through the creative nature of his/her talent, has the extraordinary chance to generate
willingly certain states, to compose emotionally a certain architectural route both at functional level and
at formally aesthetic level.
The architecture communicates, sends messages, in a language the architects have the possibility of
enriching, thus accompanying or even generating the cultural, economic and high-performance
technical development of the society.
This paper studies the manner in which the architectural message is perceived by the human being by
means of the sensory channels visual acoustic olfactory tactile gustatory and once this first
contact has been established, the relationship between the human being and the architecture
becomes interactive, complex, complementary.
The education of the senses is an integrating part of the intelligence education and as such, by using
our maximum perceptive potential, it can result in enriching our perception on the architectural space.
By giving a greater importance to the sensory perception this big and yet insufficiently explored
world we can benefit from new elements /and who in the contemporary world does not look for the
NEW?/ we can reach depth and complexity in the assimilation and understanding of the emotion
which can be provided to us by the sensory architecture.

Keywords: sensations, stimuli, material, perception
1 INTRODUCTION
Architecture is probably the most physically necessary domain, sensible and with a powerful
psychological effect by which a person benefits from the feeling of integration in the space built in any
of the architectural programs and can ease their autonomous access in the town.
The architectural values are translated and assumed by the capacities of sensory perception of each
individual eventually the last and the most valuable personal dictionary by which we can translate
and assimilate on a personal plan all the exterior stimuli no matter their nature.
Going back to the perception of the architectural object, it seems obvious that its message is
received in the most complete, profound and refined form, by the sensibility induced by sensory
involvement.
Sensory knowledge of natural environment but also the built environment, allows an approach of the
architectural program as a process of creation/ design but also as a result that is transmitted from
the sensory point of view to the individual by means of its own perception.
The environment is indestructibly connected with man, interacting with this one. He is accepted and
understood as an organized system and the message transmitted to the beholder generates
behavioural answers.
Architecture is for sure able to experiment being perceived, felt by means of all our sensory
capacities.
Although we live in an era where image dominates us, guides us, preoccupies us and convinces us
more than the other senses succeed to do, it is no less true that acoustic, olfactory, tactile and even
gustatory (symbolically speaking) bring a plus of information, deepening the message of the
architectural object.
Architecture assumes itself new meanings by the effect that exploitation of the sensations transmitted
by the spatial or material qualities of this one has on the perceptual receptors of man.
J ust as the environment, architecture is strongly connected with man in all its complexity. The
existence of man in an area where he can receive stimuli and towards which he gives answers leads
to what is called informational space. It is a space concentrated around the ego, and the sensations
received within its limits become a part in mans existence and orientation. Architecture sculpts in
space, and the spatial qualities as tight, open, large, narrow are transmitted perceptively to man by
means of sensations. Thus, this sensory event is at the same time and obviously a rational process
as a result of analysis at cerebral level of the information received.
They way an object is perceived from the aesthetical point of view will be rendered by an aesthetical
behaviour and assumes the ability to attribute the thing you look at more than he was probably
prepared to transmit. In the work sthetische Theorie
[1]
published in 1974, Theodor Adorno
considers that the aesthetical information is taken by the emotional side of the individual while the
semantic information, the one that discovers the objective content of an event, is less connected to
the emotional specificity of the receptor. In this case, the problem appears whether the semantic is or
isnt influenced by the aesthetic or whether the aesthetic can interfere with the semantic information.
In the same order of ideas, in the work About Form and the Principles of the Sensitive and Intelligible
World
[2]
, Immanuel Kant divides knowledge in sensory and rational. He states that the sensibility of
each individual is the one that leads to the sensory knowledge and the intellect is the basis of rational
knowledge. If rational knowledge helps to form logical thinking the sensory one is more aesthetic,
subjective and is the one that helps to establish a relation between individual/object, and the analysis
of an object will be done exclusively by means of senses.
Every object and especially the one connected with architecture, impresses, appeals, having thus a
certain effect on man, due to the way its characteristics are perceived. The creator of such an object
intends to produce certain emotions, controls or intends to lead the beneficiary of his creation towards
certain emotions.
Among the first architects to bring out and criticize the statistic approach that the architectural object
has on us was Philip J ohnson. Although he tried by his creation to give new dimensions and a new
approach to architectural space and its perception and we have to mention here the construction
Glass House built in 1949- the moment doesnt succeed in drawing attention to the necessity of
involvement of all the senses when it comes to create and perceive the architectural object.
Architecture is exclusively understood with a strict cultural signification and both the architecture and
the society were not yet prepared to surpass that moment.
While time passes by, the involvement of our entire life appears more and more necessary with
everything that general evolution involves, in the process of thinking and approach of the architectural
project:
An architecture is valid if it stirs up more signification levels and more combined interpretations, if we
can understand and use the space and its elements in many ways at the same time complex and
contradictory at the same time, architecture must be considered as a whole
[3]
states Robert Venturi.
Sensory perception is maybe the finest instrument that human being has and the more or less
profound, attentive and sometimes exhaustive way that we use in the reading and understanding of
phenomena and the things that surround us, makes the difference of perceptive value between
individuals.
What is quite interesting for sure and opens up new research possibilities in terms of sensory
approach of architecture is the complex effect that an individual, consumer of architecture feels-
actually all of us feel that. Although the speed we live with, the agglomeration through which we move
every day, the automatism that seems to size us seem to say that Paul Virillio was right-
we are no longer those who see, we have become those who revisit/ we dont build the world through
our eyes but we reuse what has been used already
[4]
The article entitled Taramuri haptice written by N.J .Brady Dip Arch SMArchs, MRIAI, MIDI the
authors agree that
the particular problem that architecture faces nowadays is the conservation of the specific conditions
that result from mans intersection with place
[5]
- what Christian Norberg Schultz defines as genius
loci.
The set of sensory systems that men possess is the same, but each person perceives the surrounding
world in his/her own way. The quality and the development of the sensory abilities is different
depending on education, age, physical restrictions, disabilities, sex. Mans senses developed during
thousands of years, reaching the actual form of perception, obviously superior and in a permanent
evolution process.
Architecture, whether it accepts it or not, is intimately connected to the human body through the
physical realities and the particular limitations.
[6]
In the work The hidden dimension the anthropologist Hall Edward Twichell finds another factor that
could influence the sensory perception namely, develops the idea that the perception of space by the
sensory apparatus is formed and shaped by culture
[7]
.
Thus, the corresponding cultural framework of the different areas where people live leads implicitly to
a certain type of organization of towns. We could say in other words that a society is a cultural
example well defined by the institutions and we could understand better the personality of such a
system by the participation at different cultural and social interactions. The author analyzes on the one
hand the space from the vicinity of man, the personal space as well as vast spaces associated with
the organization of town.

According to Hall we have three spaces:
the intimate space the closest area towards the body, where only the close persons have
access.
the social and consultative space areas where people feel comfortable during routine activities,
but where they can meet foreigners.
public space- space where the individuals perceive interactions as impersonal.
The cultural implications of these spaces vary from a country to another, but at the level of fixed and
semi fixed spaces (terms that Hall uses for the description of the furniture, buildings, streets, towns)
proves that all the cultures have the same organization model.
In this way Edward Hall highlights the essential role that our receptors have in the building of the
sensory universes that dwell in us, and the capacity of understanding of man depends on how culture
transforms the information provided by the reception system of the person.
Coming back to the work Taramuri haptice, the authors of this article state that
Senses are a completely based system on the mental component that is used as a means of
creating the intellectual model of the world
The body cant ignore the mind and neither the mind can ignore the body
[8]
The education of senses is an essential part in the development of intelligence and, by using at the
best our perceptive potential we can state that a possible consequence is the improvement of our
perception on the space. Thus, paying more attention to the sensory perception this vast world and
maybe not sufficiently explored we can take profit of new elements and who doesnt look for the
NEW nowadays? of profundity in the assimilation and understanding of the emotion on another plan
that sensory architecture provides us.
The visual sense allows for sure an immediate understanding and a certain anticipation of the space
or of a succession of spaces, and we come to the conclusion that through movement the space is not
made up from isolated elements, it has on the contrary continuity and fluidity.
The human brain is able to make the difference and process qualities of the space as well as of the
materials that surround us such as texture, gradation, shadows, danger/ safety, size, temperature,
tough/ soft, distance. They transform into states/ perceptions/ information that allow man to exist and
move in his environment.
Architecture, by its material component as well as the special one, allows the transmission of the
information necessary to its usage by sensory channels: visual, acoustic, olfactory, tactile,
gustatory.
2 ACOUSTIC
Almost the same perception of space can be given by acoustic sense, this being a distance sense, as
well as visual sense. Sound can become an alternative way to perceive architecture being capable to
perceive a space and configure it.
Probably only few people who can see notice or pay attention to the diversity of sound that we get
through the touch of different materials. Our steps sound differently on a paving, on the sound, on
wood or on the carpet
Analyzing this aspect, the sound can be used to realize a decorative refinement even at the acoustic
level. The association between finishing materials on vertical and horizontal surfaces as well as the
form of the rooms, the study of the angles of incidence that can lead to different phonic effects, can be
analyzed by the ARCHITECT, obviously in the multidisciplinary team and put in the service of the
acoustic beauty.
Each sound has a certain acoustic personality, resulted or intentionally designed - from spatial
configuration as well as from the materials used. Thus, the acoustic characteristics of spaces produce
certain impressions, most of the times faded by the fact that the visual signals occupy the greatest part
of the processing capacity of the brain.
Every space has fixed and mobile noises, each of them playing a definite role in relation to which we
can judge a space. The reverberation is the one that can indicate us if a space is narrow or open, if it
is furnished or if materials with phonic characteristics have been used.
Thus, the sound appears as an alternative of the perception of architecture.
In 1913, Marcel Duchamp, well-known protagonist of the classical avant-garde and member of DaDa
group made an experiment to create an acoustic sculpture. He took a space, he placed musicians in
the middle of it surrounding them by the public the experiment was not considered to be a success,
but can be a step towards the spatial understanding by means of sound.
The architect Renzo Piano succeeds in doing an extraordinary experiment, starting from the former
experiment, once with the performance Musical Space PROMETHEUS at Venice and Milano. The
masterpiece PROMETHEUS composed by Luigi Nano, starts from the idea of an intimate association
between architecture and music. In this way, the aim of this project was to create an exclusive space
for this masterpiece, a space that could reinvent the concept of opera house with the help of that of
building workshop. The spectators are seated in the middle of the structure and the musicians
surround them at the three levels, their access to the galleries being possible by means of specially
designed stairs. Thus, a natural interaction is possible between different points of the structure and
music space each of them motivating the other in a reciprocal way.
Chosen for its acoustic qualities and not only, wood is the material that allowed this modular
construction that was put together inside the church SAN LORENZO, in Venice and also inside an
industrial space Ansaldo, at Milano and that manages to shelter 400 spectators and more than 100
musicians in an architectural and musical show that proved to be a success. Music, with its low or high
sounds is something that we feel somewhere outside us as a spatial concrete entity.
In the space created by Piano, when people listen to music, the sound is not perceived as coming
from a punctual source, they listen to a space full of sounds and this space takes on atmosphere. This
way, it becomes obvious that we can accept the spatial quality of sound. The impact of vibrations
transmitted to the man can replace the visual information and express the feeling of space.
3 OLFACTORY
J ust as hearing, smell is a distance perceiving sense, but the range of action it offers is a lot more
reduced. It represents that sensory receptor that brings an extra intimacy as compared to that of
touch, maybe even greater as smell gives us the advantage of depth and subtlety.
We have always wanted to create a perfume and now we can see that some of our ideas, that of hot
concrete, summer rain or wet cement, are starting to appear on the marketit is clear that architecture
relates to smells through a huge spatial and emotional impact they have on the human being
[9]
say
architects Herzog & de Meuron.
Street also has her smell, her perfume sources, which can become references just like noises you
can smell a book store, a flower shop, pharmacies, restaurants, coffee shops. There are many
examples of architects who, by depending of the olfactory potential of plants and by using it, have
created connections of high perceptive fineness to the architectural object.
The french architects, J ean-Gilles Decosterd and Philippe Rahm, consider that the modern
architecture is somewhere between substance and thought. They advance a series of projects of
physiological architecture, as they call it, through which they exploit olfactory experiences. It involves
certain spaces - Digestible spaces, Jardin electromagnetique, Jardin physiologique, Melatonin room,
within which, by using different carefully selected plants with intense scent, they emphasise the strong,
almost visceral impact that the olfactory sense can have on the visitor.
This experiment, conceived by taking into account the chemical mechanisms and the reactions of the
human body to different active substances contained in plants, launches the idea that physiological
effects can be obtained for treating the human body. Thus, the projects use the senses strictly from
the point of view of the chemical reactions they can produce in the human body, through the active
substances contained by plants.
Experiencing the process proposed by the architects can lead to the modification of the metabolism or
can induce controlled emotional reactions, as a result of the interference of the two living organisms at
physical level. Even if the association of the olfactory sense with the architecture may seem
inappropriate, the experience demonstrates the outstanding role it can have in defining space.
They consider these reactions as being the fourth dimension of architecture, which, although
invisible, acts in a precise manner and can be physically experimented.
4 TASTE
The architecture pavilion of Austria, created for the Architecture Biennial in Venice in 2002, was
deservedly named Tasting Architecture and it proved to be a promoter of the sensational ideas,
scarcely approached until then, having a sensational impact (both literally and metaphorically) on the
common visitors, but also on the specialised ones. The novelty of the experience advanced by them,
consisting in trying to see architecture as a commodity, associating organic sensations with mental
sensations, aims at involving emotions, sensations of any kind, obviously in an atypical manner, in
perceiving both the concept and the actual architectural product. The visitors were invited to taste a
book, an image, a dream, a word, a piece of architecture. Of course, we are anyway tempted to
associate the space where food is served with a space of the taste.
The ones who conceived this pavilion decorated a room with pillows having thoughts written on them,
or proposed chocolate and tea Tasting Architecture, the result of this experiment being a success. In
conclusion YES, architecture can be associated with notions related to inner personal experiences,
architecture can be perceived at sensitive/gustative level.
5 TOUCH
If the hearing and the smell are long distance perceptions, the touch and taste require contact, and
this may be the reason why they seem to be a lot more profound and loaded with a significant amount
of intimacy. Most of the time the sight is the one responsible for making us want or not to touch a
material or a person. The experiment becomes interesting when an individual with valid senses tries to
consciously suppress one of his/her perceptions sight, for example. While not seeing, the other
senses intervene for re/building the image and for allowing the individual to perceive the object or the
situation:
You HEAR, TOUCH, SMELL, TASTE and SEE.
Furthermore, the concept of invisibility always wakened the most different emotions mystery,
anxiety, enthusiasm, prudence stimulating imagination.
In YverdonlesBains, a town located on the bank of the Neuchatel Lake in Switzerland, the architects
Elizabeth Diller and P. Scofidio presented, on the occasion of the national exhibition in 2002, THE
BLUR BUILDING project. The idea, based on remarkable technological possibilities and abounding in
significances revealing an extraordinary imagination, aims at challenging the visitor to use the
sensitive perception to its most in order to discover the space.
The project proposes a construction made of two steel platforms linked on vertical plan by stairs and
elevators. The structure is connected to the lake bank by two bridges, coming to and out of the
structure. A thick steam is released through 13,000 pipes suspended on piers above the water level,
covering a surface of approximately 100 meters on a height of 20 metres.
The experience becomes fascinating walking around these platforms through a mist which in certain
areas is so thick that the visibility is reduced to zero, forces the person living this experiment to make
use of all his/her sensitive abilities to be able to properly seize it.
Furthermore, a more profound sensitive exploration is advanced, involving not only the
individual/object/environment relation, but also the individual/individual relation each visitor fills in a
specific questionnaire defining a psychological profile, according to which he/she is given an intelligent
coat. This coat is uploaded with the personal data written in the questionnaire and in this way can
interact with the data cybernetically stored in the cloud, allowing the identification or comparison of the
individual with other individuals during the journey. As a result, during the walk through this space,
when the visitors pass ones by the others, these intelligent coats can compare their psychological
profiles changing their colour, and so indicating the level of compatibility, in other words an attraction
or a rejection, an aversion.
This space projected in this particular way is capable of generating different emotions, it can excite, it
can induce uncertainty due to the absence of sight in certain areas, culminating with the so much
envied sensation of floating among the clouds.
Quoting Henri Focillon:
Knowing the world requires a kind of tactile flair. ... The sight slides all over the universe. The
hand knows that the object is made of parts of different weights, that it is smooth or rough,
that it is not linked to the sky or the earth with which it seems to merge
[ 10]

The increasing preoccupation of architects and other people from different fields for this perceptive-
sensitive world, wide but still insufficiently explored, can certainly bring new elements into design, both
at functional level, and at the level of aesthetical expression. The ever increasing interest of the
architects and other specialists from other fields demonstrate the need of awareness with respect to
the immense sensitive ability of the human being.
The sensational part of this attempt to see architecture as a transmitter of perceptive sensations with
direct impact on a physical sensation, leads to the idea that we should pay more attention, to be more
sensitive, more open to the NEW...
/sensations/ connexions / stimuli / symbols.
The mind can be controlled by the sensations and thus... influenced!
The effects obtained through the study of the sensory architecture involving the hearing, the smell, the
touch and the taste could be applied in an interesting and useful way in different projects for the
benefit of persons with different forms of disabilities.
6 THE EXPERIENCE OF THE EFFECT OF MATERIALS ON THE SENSITIVE
PERCEPTION IN ARCHITECTURE
Each material has its own colour, its own savour.
J ust as a material can offer a certain resonance to a space due to its sonority, we can talk about the
materiality of that certain space. The surfaces are treated according to the technical possibilities
offered by the field and to the qualities and particularities of the material. In this way, each surface has
its own particular personality and influences the way that specific volume is perceived.
Due to the continuous development of the technology, both regarding the creation of new materials,
and their high-level processing, the architecture is increasingly based on expressing materiality.
There are materials which allow us to memorise the way they feel, and when we find them associated
to certain buildings or architectural spaces, the sensations, perceptions and even memories
associated to them are instantly brought back to us.
At the Knut Hamsun Centre - Norway, the architect Steven Holl uses wood stripes on facades, which
induce a warmth sensation due to the association with the wood, even if we do not touch it. This
sensation, and also the feeling of being connected to nature, are also present in other works, such as
The Museum of Wood, made by Tadao Ando, Yusuhara Town Hall, designed by Kengo Kuma or the
Chappel of Saint Bennedict, made by Peter Zumthor.
Facade elements which appeal to touch or sight can also be found in the building designed by the
architect Jean Nouvel, L'Institut du Monde Arabe Paris, notorious example of the message that the
facade as interface transmits by communicating with the exterior.
The cultural identity is fully expressed, the message is loaded with symbols and the aesthetical
qualities are incontestable. The repeating tracery of the facade has strong Islamic decorative
connotations and the effect resulting from the penetration of light through these tiny holes resembles to
a living epidermis (skin building) making the connection with the exterior. Another effect envisaged by
using this iron embroidery on facades is that of filtered light, having as concrete result the way in which
the interior is perceived.
The obtained interaction thanks to light is permanently moving, which is fascinating.
In the case of the Museum in Bilbao designed by Frank Gehry, the light structures and the pneumatic
membranes which come to complement the different materials which were used, enrich the effect of
touch by suggesting new characteristics, such as transparency and permeability.
This underlines the sculpturality of the created spaces, allowing special configurations.
Facade panels made of various natural materials used specifically for obtaining touch and sight related
emotions maybe unusual when related to a building, other than the ones characteristic to concrete and
glass, are more and more used by architects for re/connecting people from large urban communities
with nature.
The architect Anton Garcia- Abril used in his project for the Centre for Music Sudies in Santiago de
Compostela Spain, an ancient technique of cutting the stone. In this way, the facade made of granite
blocks has a gnarled, strongly vibrating look.
For the project Headquarters of the Authors and Editors in Spain, the same architect, obviously
preoccupied by the sensational characteristics of architecture, proposes the juxtaposition of three
types of materials, significantly different in perception. For the interior walls he uses plastic CD covers
and thus creates theinner facade- as he called it. The wall made of rugged stone blocks facing the
garden is in a strong contradiction with the calm of the glass facade facing the street, having a neutral,
translucent aspect. The building is conceived as a wall in itself.
In projects like Schaulager contemporary art storehouse - or Dominus Wine Cellar in California,
Central Rail Station in Basel - Switzerland, Laban Dance Center or Olimpic Stadium in Beijing, the
architects Herzog & de Meuron perfected their preoccupation for and study of the materiality, by
means of which they underlined, in a controlled way, certain perceptive directions, the effect of light or
a certain geometry of volumes.
The Central Rail Station in Basel is an excellent example of the way in which the architects exploit the
functional properties of the materials. The building shelters, among others, the gear for the
coordination of the signal transmitters for trains. The structure of the building is covered with copper
sheets with a thickness of 20 cm, arranged in such a way to capture the daylight and create
unexpected effects, acting like a Faraday shield to protect the gear.
At the Laban Dance Centre, the facade is made of polycarbonate panels of different colours
magenta, yellow, green generating exquisite light effects.
Schaulager is a massive closed building sheltering a modern art storehouse, a research centre and an
exhibition space. Concrete walls, apparently intentionally built with imperfections in which pieces of
colourful stones are inserted, or roughened concrete apparently coloured with natural pigments, are
materials evoking the geological sensitivity, as they call it.
7 CONCLUSIONS
Many times, the transparency of the forms and spaces, their diversity, must allow their identification
some of them are calm, solitary, cold, comfortable, others are open, wide, bright, radiant, and because
of this, the use of different materials and the direct contact with them comes to complete the sought
architectural expression. Tough or soft materials, in round or roughen shapes, with or without smell,
quiet or noisy - all of these physical characteristics and the combinations between them are meant to
stimulate perception and facilitate the memorisation repetitions, redundant sentences, events of low
significance, must allow the smooth connection to the space, must facilitate the possibility to see, to
note, to explore, to remember.
Of all the senses we own, the sight - thus the image, is the dominating one and the fact that we so
much rely on it somehow takes away the emotion of discovering the environment through other
perceptive channels. The space and the volumes furnishing it must be sensed and known through all
the senses, and spiritually controlled.
Thus, different qualities of the materials, as texture, smell, sonority, perceived through the senses
corresponding to each of them, can become more important information sources than the liquid
crystals panels covering facades, streets, and cities.
Why not feel that a colourful wall is rugged or fine or silky or cold... why not identify a space as being
smarting, sweet or salty?!
In this way,... we risk to become incomplete, we tend to forget that we can enjoy the richness of the
sensations, of the wonderful emotions that our senses are ready to provide us with.
In a world in which culture is in a continuous search of new ways of expression, ARCHITECTURE
must continue experimenting in order to always remain new.
The sensory domain offers subtleties, depth, sensations, and ARCHITECTURE owns the means to
exploit them new or conventional materials, used in different ways made available by the advanced
technology, mechanisms, researches, latest achievements, all representing in themselves new
sources of expression... through which ARCHITECTURE challenges, (experiments) searching to
stimulate the senses, discovering new emotions.

REFERENCES

[1]
Theodor W. Adorno, sthetische Theorie, Suhrkamp, Frankfurt am Main, 1970
[2]
Kant, Immanuel, De mundi sensibilis atque intelligibilis forma et principiis, Dissertation thesis , 1970
[3]
VENTURI, Robert, Complexity and Contradiction in Architecture, Museum of Moden Art, New York,
1977
[4]
VIRILLIO, Paul, Lhorisont negatif, ed. Galelee, Paris, 1984
[5]
BRADY, N.J . dip Arch SMArchs, MRIAI, MIDI, Haptic Realms
[http://avc.udc.ie/DraWare/Activities/lectures/CDP%20lecturesbrady.htm]
[6]
idem [3]
[7]
HALL, Edward T., The Hidden Dimension, ed. Doubleday, New York, 1966
[8]
idem [3]
[9]
Herzog & de Meuron, in the speech from the Venice Biannual 2002 November / Theme NEXT _
Austrian pavilion _ TASTING ARCHITECTURE
[10]
FOCILLON, Henri, La peinture aux XIX et Xxe siecles. Du realisme a nos jours, Librarie Renouard
et H. Laurens, Paris, 1928